Article headed "Noted Musicians Jam - Jazz Party Supplies Soothing Sounds."
Well, to paraphrase an old song title, the songs are ended, but the melodies linger on. The memories also linger on, and what wonderful memories they are!
The Seventh Annual Conneaut Lake Jazz Party, sponsored by the Allegheny Jazz Society, under president Joe Boughton, commended Friday evening and ended with a bang Sunday afternoon. A quick calculation indicates that during the three-day weekend, 17 top-notch jazz musicians, plus one sublime female vocalist, dispensed 23 hours of some of the finest traditional and mainstream jazz that this reviewer has ever heard.
The party was held entirely in the dining room of the Hotel Conneaut this year, which was a plus, mainly because of the room's superior acoustics and the more intimate setting. The party-goers, from such locales as Nebraska, Rhode Island, Michigan, Florida, Virginia, Canada, and many local points, enjoyed some fine music.
The two evening concerts were devoted to bands with set personnel, but the two morning brunches were another matter entirely.
Jazz has always had its strength in the ability to take musicians of various styles and backgrounds - some that have probably never played together before, or possibly even have never met before - and using the talents of these musicians to make music, usually using no written arrangements. This is what happens at the brunches.
Eight pages of notes were taken for this review. A blow-by-blow account, obviously, can't be done, so how about a few memories and observations?
The party was blessed this year with two outstanding clarinetists. Bob Reitmeier, a young Californian, is a master of his devilish instrument. It is fascinating to listen to him paint himself into a corner, then escape with no paint on his shoes. Reitmeier was a member of the superb little band that played for the dinner crowd Friday and Saturday afternoons.
Bobby Gordon, another Californian, uses the lower register of the instrument more than Reitmeier. His tone is wistful, almost like Pee Wee Russell on a very good day. Gordon distinguished himself in every setting he involved himself in.
The pianists, Ross Tompkins and Keith Ingham, are a study in contrasts. Tompkins, a member of the Tonight Show Orchestra, is the cool Californian, a master of the keyboard. He is usually buried in the TV studios, but this past weekend proved what an excellent, melodic musician he is. At Sunday's brunch his medley of "Straighten Up And Fly Right," "Sweet Lorraine" and "Mona Lisa" pleased the diners. He also added much to other groups during the party.
Ingham, born in London and educated at Oxford, majoring in classical Chinese, has developed into an outstanding pianist of the Teddy Wilson-Earl Hines school. He is also developing into a specialist of that most-exciting of piano styles - stride. His versions of "Birmingham Breakdown," the ragtime "Dill Pickles," and Mel Powell's "The Earl" were well-received, as was a lovely medley of "Keepin' Myself For You" and "Looking At You."
The trumpet-cornet-flugelhorn group was handled by three outstanding players, Joe Wilder, Ed Polcer and Peter Ecklund. Wilder, a jazz veteran who plays the Broadway musicals, presently is in the pit band of "42nd Street." His trumpet added vitality to the septet, led by saxophonist Harry Allen during the evening concerts, but he also had a lovely flugelhorn solo during his portion of a ballad set at the Saturday morning brunch, playing a beautiful "Am I Blue?"
Ed Polcer plays a driving, hard-swinging cornet in the manner of Wild Bill Davison, is a great organizer and leader during the jam sessions. At the Saturday evening concert his band, with Reitmeier on tenor sax instead of clarinet, Bobby Gordon-clarinet; Bob Havens-trombone; Ingham-piano; Marty Grosz-acoustic guitar; John Goldsby-bass; and Jackie Williams-drums, tore things up on "Ol' Miss," Louis Armstrong's "Swing That Music," and "Memories Of You," the last-named tune featuring a beautiful clarinet solo by Gordon.
Peter Ecklund plays a cornet style somewhere between Beiderbecke and Armstrong, specializing in the more traditional jazz styles. His work was joy all weekend, especially during the appearances of the Hot Four.
The guitar chairs were filled by Bucky Pizzarelli and Marty Grosz. Pizzarelli, playing a 7-string instrument, proved to be the consumate melodic artist of the entire party. His work gave fire to his appearances with the septet at the evening concerts, but his solo work at the brunches was a thing of beauty. Bix Beiderbecke's "In A Mist," originally scored for piano, transposed beautifully to the guitar, and a medley of "Smoke Gets In Your Eyes," "Sophisticated Lady" and "Prelude To A Kiss" was exquisite.
Marty Grosz, who plays acoustic guitar, is a very talented musician. He is also a vocalist, an illustrator and author, and has more natural comedy talent than any stand-up comedian I can think of.
Marty was the leader of The Hot Four, which he subtitled "The Orphan Newsboys' Band," made up of "Lips" (Peter Ecklund), "Stinky" (Bobby Gordon), "Slats" (bassist Bob Haggart), and "Fat Stuff" (Grosz himnself). The quartet played some obscure gems, such as "Strut, Miss Lizzie" and "A High Hat, A Piccolo And A Cane," also some truly wonderful arrangements of "Beale Street Blues" and "Smiles." Great stuff; should be recorded.
At the Sunday brunch, Grosz organized an outstanding band consisting of himself, Bob Havens on trombone, Ecklund, Ingham, Gordon, Jackie Williams on drums, and Bob Haggart, bass, called The Hot Seven, and brought the crowd to its feet with "When Day Is Done" and "How Come You Do Me Like You Do?"
The string bass department was handled by the young John Goldsby and the veteran Bob Haggart. Goldsby has a beautiful, full tone, and played some outstanding arco solos with the septet.
Haggart was, as usual, a tower of strength, no matter what combinations of musicians he backed. One of the most under-rated musicians in the business, I think.
Trombonists were Bobby Pring and Bob Havens. Pring, out of the Les Brown big band, played some beautiful, buttery things with the septet, also with various combinations at the brunches.
Havens, who spent 25 years with Lawrence Welk, is a robust soloist of the Jack Teagarden school. His work throughout the whole weekend was outstanding, especially with the traditional bands.
Tenor saxophonists this year were the young Harry Allen, and the old veteran, Bud Freeman.
Allen, 21 years old, was with the 1983-84 McDonald's All-American High School Jazz Band as featured saxophone soloist. He has obviously been influenced by Hawkins and Webster, and managed to hold his own with the heavy weights.
Bud Freeman, 82, pleased the crowd, as is usual with Bud. There was a special, poignant moment at the Saturday brunch. Freeman and Pizzarelli were playing duets, and Bud called vocalist Barbara Lea to join in. Their versions of "Am I Blue?", "You Took Advantage Of Me" and "Someone To Watch Over Me" were charming.
Drummers this year were Jackie Williams and John Von Ohlen. Williams, a light, delicate drummer, has the ideal touch for small groups, much in the manner of ex-Basie drummer Jo Jones. His work through-out was superb.
Von Ohlen is a powerhouse drummer, very inventive, using unusual patterns that make his solos much more than the usual drum solos.
Which brings us to the sublime vocalist, Miss Barbara Lea. A jazz singer in the grand tradition, she would be at home in any era, with any jazz group. Specializing in the superior show tunes and rarely-heard numbers, such as "Old Folks," "Moonshine Lullaby" and "Dream Dancing," she was effective in any setting during the weekend.
It was a superb weekend of wonderful music, excellent food and amiable companions. Looking back, one reason for the general excellence of the music may have been due to the choices of songs played and sang. The artists picked music that has not been done to death. There are a great many songs that are really beautiful in melody and style, and aren't heard much anymore. The artists involved managed to unearth some of these numbers, and presented them to a willing audience.
More power to them.
Sunday, December 30, 2007
Thursday, December 27, 2007
Conneaut Lake Jazz Party Review -August 27, 1988
Jazz Review titled "Lake Jazz Party Cruisin' Along"
Imagine a furn-of-the-century resort hotel, located on the west shore of Pennsylvania's largest natural lake. A place where Bix might have played. Nearby is a sandy beach, complete with gulls, a well-kept boardwalk and amusement park, a midway, food stands, and boats for hire.
Imagine, also, that on the last week-end of August, seventeen top-ranked jazz musicians, a heady mixture of youth and veteran, plus one sublime female vocalist, descend upon the hotel dining room for three days of the finest jazz to be found in this part of the country.
It all conjures up a jazz buff's dream of paradise.
The Seventh Annual Conneaut Lake Jazz Party, sponsored by the Allegheny Jazz Society, Joe Boughton-President, started right on time, as is usual with Joe's functions, at 5 p.m. yesterday in the dining room of Hotel Conneaut. A magnificent quartet, made up of Keith Ingham-piano; Bob Reitmeier-clarinet; John Goldsby-string bass; and Jackie Williams-drums, played an hour and fifteen minutes for the dinner crowd. Their set consisted of a superior mixture of show tunes associated with dancer Fred Astaire.
After a short intermission, a septet, consisting of Harry Allen-tenor sax and leader; Joe Wilder-trumpet and flugelhorn; Bobby Pring-trombone; Ross Tompkins-piano; Bucky Pizzarelli-guitar; John Goldsby-string bass; and John Von Ohlen-drums, took the stand. They opened the set with a medium-tempo warm-up number, "I Would Do Anything For You," with good solos all around.
"I Found A New Baby" had excellent Allen and Tompkins solos, a plunger-mute solo by Wilder, explosive Von Ohlen, and a wild guitar solo by Pizzarelli.
"Fools Rush In" was melodic, with Allen showing a Hawkins influence, a Teagarden-like solo by Pring, and lyric trumpet by Wilder.
"You're Driving Me Crazy" had some beautiful Allen, backed by Pizzarelli, with Wilder on flugelhorn, and closed with a riff from "Moten Swing."
On "Everything Happens To Me," Pring, ex-Les Brown trombonist, again showed his Teagarden roots, backed by a melodic Pizzarelli.
"Sweet Sue" was next, and the set closed with a very up-tempo "Soft Lights And Sweet Music." This must have been what New York's 52nd Street sounded like back in the good old days.
The next set consisted of a fine duo, Keith Ingham-piano and Bob Reitmeier-clarinet. Their first number was "As Long As I Live," followed by a dreamy "A Hundred Years From Today."
Two very obscure Irving Berlin numbers were done in fine style, "Moonshine Lullaby" and "My Walking Stick."
"I'll Never Be The Same" featured fine Reitmeier, and the set closed with an up-tempo "Hands Across The Table." Another beautiful set of superior songs.
Set three belonged to The Hot Four. Marty Grosz-acoustic guitar, vocal and leader; Peter Ecklund-cornet; Bobby Gordon-clarinet; and the old master, Bob Haggart, composer of "What's New?" and "My Inspiration," on bass.
The quartet opened with "Come Back, Sweet Papa," an old novelty number that, incidentally, was arranged by Bob Haggart for a Bob Crosby big band recording back in 1936. Bobby Gordon's low-register clarinet was outstanding, along with Ecklund's Bixian cornet.
"Save It, Pretty Mama," once recorded by Louis Armstrong, followed, with a vocal by Marty Grosz.
"Little Girl" followed, with Armstrong-like cornet, and excellent bass by Haggart.
Grosz sang the seldom-heard verse to "Emaline," again with beautiful Haggart.
Next came the outstanding number of the set, Jimmie Noone's "Apex Blues," featuring the beautiful, wistful Gordon clarinet, Ecklund's muted cornet, good Haggart and Grosz.
The set closed with "Swing It," featuring a vocal by Grosz, a beautiful stop-time chorus by Ecklund, and walking bass by Haggart.
Set four featured a fine band consisting of Ed Polcer-cornet and leader; Bob Havens, featured for 25 years with the Lawrence Welk Orchestra, on trombone; Bob Reitmeier-clarinet; Keith Ingham-piano; Marty Grosz-acoustic guitar; John Goldsby-bass; and Jackie Williams-drums.
"Clarinet Marmalade" opened the set, with fine solos by all, especially by Ingham.
A bluesy "Mama's Gone, Goodbye" followed, with a rolling rumbling solo by Ingham.
Trombonist Havens was featured with just rhythm on a beautiful "I've Got A Right To Sing The Blues," showing his Teagarden influence.
As this reviewer was leaving to write this review, a quartet of Polcer, Ingham, Reitmeier and Williams finished a stand-out version of "What A Little Moonlight Will Do." Simply wonderful, and what jazz is all about.
The Jazz Party continues Saturday evening at 7. Tickets are still available for Saturday's performances.
Imagine a furn-of-the-century resort hotel, located on the west shore of Pennsylvania's largest natural lake. A place where Bix might have played. Nearby is a sandy beach, complete with gulls, a well-kept boardwalk and amusement park, a midway, food stands, and boats for hire.
Imagine, also, that on the last week-end of August, seventeen top-ranked jazz musicians, a heady mixture of youth and veteran, plus one sublime female vocalist, descend upon the hotel dining room for three days of the finest jazz to be found in this part of the country.
It all conjures up a jazz buff's dream of paradise.
The Seventh Annual Conneaut Lake Jazz Party, sponsored by the Allegheny Jazz Society, Joe Boughton-President, started right on time, as is usual with Joe's functions, at 5 p.m. yesterday in the dining room of Hotel Conneaut. A magnificent quartet, made up of Keith Ingham-piano; Bob Reitmeier-clarinet; John Goldsby-string bass; and Jackie Williams-drums, played an hour and fifteen minutes for the dinner crowd. Their set consisted of a superior mixture of show tunes associated with dancer Fred Astaire.
After a short intermission, a septet, consisting of Harry Allen-tenor sax and leader; Joe Wilder-trumpet and flugelhorn; Bobby Pring-trombone; Ross Tompkins-piano; Bucky Pizzarelli-guitar; John Goldsby-string bass; and John Von Ohlen-drums, took the stand. They opened the set with a medium-tempo warm-up number, "I Would Do Anything For You," with good solos all around.
"I Found A New Baby" had excellent Allen and Tompkins solos, a plunger-mute solo by Wilder, explosive Von Ohlen, and a wild guitar solo by Pizzarelli.
"Fools Rush In" was melodic, with Allen showing a Hawkins influence, a Teagarden-like solo by Pring, and lyric trumpet by Wilder.
"You're Driving Me Crazy" had some beautiful Allen, backed by Pizzarelli, with Wilder on flugelhorn, and closed with a riff from "Moten Swing."
On "Everything Happens To Me," Pring, ex-Les Brown trombonist, again showed his Teagarden roots, backed by a melodic Pizzarelli.
"Sweet Sue" was next, and the set closed with a very up-tempo "Soft Lights And Sweet Music." This must have been what New York's 52nd Street sounded like back in the good old days.
The next set consisted of a fine duo, Keith Ingham-piano and Bob Reitmeier-clarinet. Their first number was "As Long As I Live," followed by a dreamy "A Hundred Years From Today."
Two very obscure Irving Berlin numbers were done in fine style, "Moonshine Lullaby" and "My Walking Stick."
"I'll Never Be The Same" featured fine Reitmeier, and the set closed with an up-tempo "Hands Across The Table." Another beautiful set of superior songs.
Set three belonged to The Hot Four. Marty Grosz-acoustic guitar, vocal and leader; Peter Ecklund-cornet; Bobby Gordon-clarinet; and the old master, Bob Haggart, composer of "What's New?" and "My Inspiration," on bass.
The quartet opened with "Come Back, Sweet Papa," an old novelty number that, incidentally, was arranged by Bob Haggart for a Bob Crosby big band recording back in 1936. Bobby Gordon's low-register clarinet was outstanding, along with Ecklund's Bixian cornet.
"Save It, Pretty Mama," once recorded by Louis Armstrong, followed, with a vocal by Marty Grosz.
"Little Girl" followed, with Armstrong-like cornet, and excellent bass by Haggart.
Grosz sang the seldom-heard verse to "Emaline," again with beautiful Haggart.
Next came the outstanding number of the set, Jimmie Noone's "Apex Blues," featuring the beautiful, wistful Gordon clarinet, Ecklund's muted cornet, good Haggart and Grosz.
The set closed with "Swing It," featuring a vocal by Grosz, a beautiful stop-time chorus by Ecklund, and walking bass by Haggart.
Set four featured a fine band consisting of Ed Polcer-cornet and leader; Bob Havens, featured for 25 years with the Lawrence Welk Orchestra, on trombone; Bob Reitmeier-clarinet; Keith Ingham-piano; Marty Grosz-acoustic guitar; John Goldsby-bass; and Jackie Williams-drums.
"Clarinet Marmalade" opened the set, with fine solos by all, especially by Ingham.
A bluesy "Mama's Gone, Goodbye" followed, with a rolling rumbling solo by Ingham.
Trombonist Havens was featured with just rhythm on a beautiful "I've Got A Right To Sing The Blues," showing his Teagarden influence.
As this reviewer was leaving to write this review, a quartet of Polcer, Ingham, Reitmeier and Williams finished a stand-out version of "What A Little Moonlight Will Do." Simply wonderful, and what jazz is all about.
The Jazz Party continues Saturday evening at 7. Tickets are still available for Saturday's performances.
Max Morath Review - October 6, 1988
Review titled "Morath's Music Brings Back Memories In Academy Concert"
Well, they did it again - The Friends Of The Academy of Music did it again. Last evening, Max Morath appeared on the stage of the lovely old Academy Theater to present a marvelous recital before an estimated 250 delighted people.
Working with an old Edison Talking Machine, magic lantern slides, and a player-piano attachment, Morath took the audience with him into a time machine trip back into the late 1890s, and from there to about 1925, roughly in history covering the first 50 years or so of the Academy's life.
Morath opened the show with an old number, "Living A Rag Time Life," which was followed by an outstanding "Maple Leaf Rag." During this portion, Morath explained that ragtime was really the first type of American popular music that had gone "national" in popularity.
After a rousing "Grace And Beauty" by Kansas City composer James Scott, composed in 1909, Morath played and sang a "tender love song," "Saloon," composed by Ernest Ball in 1920.
Then came a highlight, "Willie The Weeper," made famous later by both Louis Armstrong and Cab Calloway, among others, which featured Morath's fine vocal and some bluesy fills on his piano.
The first act closed with Eubie Blake's "Charleston Rag," originally composed by Blake in 1899 but not copy-writed until 1925.
After a short intermission, Act II commenced with a Bert Williams specialty, "When It's All Goin' Out And Nothin' Comin' In." Williams, the first really successful black vaudeville star, was said to be, by fellow comedian W. C. Fields, "the funniest and the saddest man I ever knew."
Morath then explained that when he, Morath, was 11, he composed a piano piece titled "Cat On The Keys," only to be told by his piano teacher that a composer named Confrey had already copywrited something called "Kitten On The Keys." Morath then played an excellent version of this Zez Confrey number.
Morath explained that each of the black ragtime composers had a sound and style of his own, then played an exquisite "Solace," composed by Scott Joplin, including the seldom-heard verse of the composition.
Another high point followed, two versions of "Bill Bailey, Won't You Please Come Home?" One version showed the woman's point of view, the other version, titled "Ain't That A Shame?" showing the man's.
A litte bit of George M. Cohan followed, which led to a duet between Morath on the regular piano keys, and the player-piano. Simply outstanding.
Again, the superb acoustics of the Academy came into play, since Morath worked without a mic during the whole performance.
The lighting was another high point. The use of fade-out and complete black-out was effective, and during the Cohan number Morath, with the use of lighting only, aged
25 years right before your eyes.
Max Morath treated the audience to an evening of outstanding American music. His piano work is facile, he knows his material, and it is apparent he puts much time and research into his programs. His vocals suit the material admirably, and he has a commanding stage presence.
If vaudeville is ever to make a come-back, Morath will probably be the one to do it.
Thanks to the Frinds Of The Academy Of Music for an evening of fine music.
Well, they did it again - The Friends Of The Academy of Music did it again. Last evening, Max Morath appeared on the stage of the lovely old Academy Theater to present a marvelous recital before an estimated 250 delighted people.
Working with an old Edison Talking Machine, magic lantern slides, and a player-piano attachment, Morath took the audience with him into a time machine trip back into the late 1890s, and from there to about 1925, roughly in history covering the first 50 years or so of the Academy's life.
Morath opened the show with an old number, "Living A Rag Time Life," which was followed by an outstanding "Maple Leaf Rag." During this portion, Morath explained that ragtime was really the first type of American popular music that had gone "national" in popularity.
After a rousing "Grace And Beauty" by Kansas City composer James Scott, composed in 1909, Morath played and sang a "tender love song," "Saloon," composed by Ernest Ball in 1920.
Then came a highlight, "Willie The Weeper," made famous later by both Louis Armstrong and Cab Calloway, among others, which featured Morath's fine vocal and some bluesy fills on his piano.
The first act closed with Eubie Blake's "Charleston Rag," originally composed by Blake in 1899 but not copy-writed until 1925.
After a short intermission, Act II commenced with a Bert Williams specialty, "When It's All Goin' Out And Nothin' Comin' In." Williams, the first really successful black vaudeville star, was said to be, by fellow comedian W. C. Fields, "the funniest and the saddest man I ever knew."
Morath then explained that when he, Morath, was 11, he composed a piano piece titled "Cat On The Keys," only to be told by his piano teacher that a composer named Confrey had already copywrited something called "Kitten On The Keys." Morath then played an excellent version of this Zez Confrey number.
Morath explained that each of the black ragtime composers had a sound and style of his own, then played an exquisite "Solace," composed by Scott Joplin, including the seldom-heard verse of the composition.
Another high point followed, two versions of "Bill Bailey, Won't You Please Come Home?" One version showed the woman's point of view, the other version, titled "Ain't That A Shame?" showing the man's.
A litte bit of George M. Cohan followed, which led to a duet between Morath on the regular piano keys, and the player-piano. Simply outstanding.
Again, the superb acoustics of the Academy came into play, since Morath worked without a mic during the whole performance.
The lighting was another high point. The use of fade-out and complete black-out was effective, and during the Cohan number Morath, with the use of lighting only, aged
25 years right before your eyes.
Max Morath treated the audience to an evening of outstanding American music. His piano work is facile, he knows his material, and it is apparent he puts much time and research into his programs. His vocals suit the material admirably, and he has a commanding stage presence.
If vaudeville is ever to make a come-back, Morath will probably be the one to do it.
Thanks to the Frinds Of The Academy Of Music for an evening of fine music.
Wednesday, December 26, 2007
Jazz Review late August 1992
I have been part of the Allegheny Jazz Society, Meadville, PA for a number of years, have been fortunate to attend and write the reviews of many of the performances. This is a review I wrote during a Conneaut Lake Jazz Party, in 1992. The review was headed in our local newspaper, as follows: `JAZZ BUZZARDS' RETURN FOR PARTY.
Migration is a phenomenon that has puzzled scientists and naturalists for ages. One example is the swallows of San Juan Capistrano.
Hinkley, Ohio, has its annual return of the turkey buzzards.
And Artie Shaw, the celebrated clarinetist, once wrote and recorded, with his Gramercy Five, a nifty little number titled "When The Quail Come Back To San Quentin."
For the past seven years, during the last week-end in August, a form of migration also takes place at Conneaut Lake Park. A select group of jazz musicians, usually accompanied by a lady vocalist, moves into the park's beautiful turn-of-the-century resort hotel, and the musicians, in turn, are followed by a gaggle of knowledgeable, attentive jazz fans from all points of the compass.
This year is no exception. The Eighth Annual Conneaut Lake Jazz Party, sponsored by the Allegheny Jazz Society, Joe Boughton, President, opened on time at 5 p.m. Friday.
The stellar group of musicians attracted fans from such exotic climes as California, Florida, Maine, Maryland and Michigan, as well as southern Ontario and the local area. There are rumors that England will be represented in today's lineup.
All in all, an impressive turn-out for some very impressive music.
The dinner-hour crowd was entertained by a truly international duo. Pianist Keith Ingham, London-born and Oxford-educated, was capably assisted by Swiss-born bassist Isla Eckinger.
The duo pleased the diners with some old standards, and some not-so-familiar items composed by alto-saxist Benny Carter. It was a very pleasant way to spend an hour.
The main concert began at 7 p.m. A truly fine sextet, composed of Cleveland's Ken Peplowski-tenor sax and clarinet; Joe Wilder, a mainstay of Broadway musicals on trumpet and flugelhorn; Bucky Pizzarelli, a lyrical player on guitar; Hollywood studio session man Gene Estes on drums; John Sheridan on piano, and Isla Eckinger on bass, ripped through some swing standards and some Ellington numbers.
"Ring Dem Bells," composed by Duke Ellington in 1928, was outstanding, with Peplowski on clarinet, some lively Sheridan, and ebullient drumming by Estes. A four-star performance by any standard.
Joe Wilder's eloquent muted trumpet added to the natural beauty of "I've Grown Accustomed To Her Face."
And Ellington's "Subtle Slough," re-titled "Just Squeeze Me" was another vehicle for Wilder's muted trumpet.
Set number two opened with a quartet consisting of Keith Ingham-piano; Bob Reitmeier-clarinet; Greg Cohen-bass; Gene Estes-drums. The set was dedicated to the compositions of American popular composer Victor Young, and was a truly beautiful set.
The quartet played beautifully on a whole series of fine numbers, with "Can't We Talk It Over?", "Street Of Dreams" and "Around The World" especially well-done. Ingham and Reitmeier were their usual superb selves, with drummer Estes again sparking the group.
Marty Grosz and His Hot Seven opened set three with "Angry," a number associated with the New Orleans Rhythm Kings back in antiquity. The Hot Seven consists of Grosz-acoustic guitar and vocals; Peter Ecklund with his Bixian cornet; Bob Havens, a trombonist with Lawrence Welk for 22 years, and considered by many to be the finest Jack Teagarden-inspired trombonist now playing; Bobby Gordon on clarinet, the heir-apparent to Joe Marsala and Pee Wee Russell, with his wistful tone; pianist John Sheridan; bassist Greg Cohen; and New Orleans drummer Hal Smith.
The Hot Seven is a joyous group, playing old standards with verve and style, and appear to be having as much fun as the audience is having. Grosz, as leader and programmer, has dredged up a whole library of obscure, seldom-heard numbers that deserve to be heard again. Such an item is Andy Razaf and Fats Waller's "How Can You Face Me?", with vocal by Grosz.
During the Hot Seven's set, trombonist Havens played a lovely intro to "Ida" that earned much applause, and Ecklund followed with a fan-hat cornet solo that brought back memories of Wild Bill.
This reviewer was forced to leave at 10 p.m., due to a dead-line. There was much more jazz to follow, and there will be much, much more today. From what this reviewer heard Friday night, it is apparent that the Allegheny Jazz Society has done it again; brought some of the finest jazz in the land back to The Lake.
Migration is a phenomenon that has puzzled scientists and naturalists for ages. One example is the swallows of San Juan Capistrano.
Hinkley, Ohio, has its annual return of the turkey buzzards.
And Artie Shaw, the celebrated clarinetist, once wrote and recorded, with his Gramercy Five, a nifty little number titled "When The Quail Come Back To San Quentin."
For the past seven years, during the last week-end in August, a form of migration also takes place at Conneaut Lake Park. A select group of jazz musicians, usually accompanied by a lady vocalist, moves into the park's beautiful turn-of-the-century resort hotel, and the musicians, in turn, are followed by a gaggle of knowledgeable, attentive jazz fans from all points of the compass.
This year is no exception. The Eighth Annual Conneaut Lake Jazz Party, sponsored by the Allegheny Jazz Society, Joe Boughton, President, opened on time at 5 p.m. Friday.
The stellar group of musicians attracted fans from such exotic climes as California, Florida, Maine, Maryland and Michigan, as well as southern Ontario and the local area. There are rumors that England will be represented in today's lineup.
All in all, an impressive turn-out for some very impressive music.
The dinner-hour crowd was entertained by a truly international duo. Pianist Keith Ingham, London-born and Oxford-educated, was capably assisted by Swiss-born bassist Isla Eckinger.
The duo pleased the diners with some old standards, and some not-so-familiar items composed by alto-saxist Benny Carter. It was a very pleasant way to spend an hour.
The main concert began at 7 p.m. A truly fine sextet, composed of Cleveland's Ken Peplowski-tenor sax and clarinet; Joe Wilder, a mainstay of Broadway musicals on trumpet and flugelhorn; Bucky Pizzarelli, a lyrical player on guitar; Hollywood studio session man Gene Estes on drums; John Sheridan on piano, and Isla Eckinger on bass, ripped through some swing standards and some Ellington numbers.
"Ring Dem Bells," composed by Duke Ellington in 1928, was outstanding, with Peplowski on clarinet, some lively Sheridan, and ebullient drumming by Estes. A four-star performance by any standard.
Joe Wilder's eloquent muted trumpet added to the natural beauty of "I've Grown Accustomed To Her Face."
And Ellington's "Subtle Slough," re-titled "Just Squeeze Me" was another vehicle for Wilder's muted trumpet.
Set number two opened with a quartet consisting of Keith Ingham-piano; Bob Reitmeier-clarinet; Greg Cohen-bass; Gene Estes-drums. The set was dedicated to the compositions of American popular composer Victor Young, and was a truly beautiful set.
The quartet played beautifully on a whole series of fine numbers, with "Can't We Talk It Over?", "Street Of Dreams" and "Around The World" especially well-done. Ingham and Reitmeier were their usual superb selves, with drummer Estes again sparking the group.
Marty Grosz and His Hot Seven opened set three with "Angry," a number associated with the New Orleans Rhythm Kings back in antiquity. The Hot Seven consists of Grosz-acoustic guitar and vocals; Peter Ecklund with his Bixian cornet; Bob Havens, a trombonist with Lawrence Welk for 22 years, and considered by many to be the finest Jack Teagarden-inspired trombonist now playing; Bobby Gordon on clarinet, the heir-apparent to Joe Marsala and Pee Wee Russell, with his wistful tone; pianist John Sheridan; bassist Greg Cohen; and New Orleans drummer Hal Smith.
The Hot Seven is a joyous group, playing old standards with verve and style, and appear to be having as much fun as the audience is having. Grosz, as leader and programmer, has dredged up a whole library of obscure, seldom-heard numbers that deserve to be heard again. Such an item is Andy Razaf and Fats Waller's "How Can You Face Me?", with vocal by Grosz.
During the Hot Seven's set, trombonist Havens played a lovely intro to "Ida" that earned much applause, and Ecklund followed with a fan-hat cornet solo that brought back memories of Wild Bill.
This reviewer was forced to leave at 10 p.m., due to a dead-line. There was much more jazz to follow, and there will be much, much more today. From what this reviewer heard Friday night, it is apparent that the Allegheny Jazz Society has done it again; brought some of the finest jazz in the land back to The Lake.
Saturday Swing Session Christmas 2007 Show
wqln.org 8pm EST
1. BRING A TORCH JEANETTE, ISABELLA - Philadelphia Brass
2. LIKE NUTTY OVERTURE - Shorty Rogers
(from CD "The Swinging Nut Cracker)
3. ARAB DANCE - Claude Thornhill Orchestra
4. BOUNCE OF THE SUGAR PLUM FAIRY - John Kirby Orchestra
5. WE THREE KINGS - The Swingle Singers
6. RUDOLPH THE RED-NOSED REINDEER - World's Greatest Jazz Band
Bob Wilber - clarinet
Billy Butterfield - vocal
Vic Dickenson - vocal
Bud Freeman - tenor sax
7. SLEIGH RIDE - Russ Peterson/Reuben Ristrom
Russ Peterson - flute
Reuben Ristrom - guitar
8. THE TOY TRUMPET - Raymond Scott Sextette
9. ONE HORSE OPEN SLEIGH - Robert DeCourmier Singers
10. BLUE REEDS - Shorty Rogers
(from CD "The Swinging Nut Cracker")
11. MIDNIGHT SLEIGHRIDE - Sauter-Finegan Orchestra
12. MEDLEY - Vikki Carr
JOLLY OLD ST. NICHOLAS
UP ON THE HOUSETOP
13. THE CHRISTMAS SONG - Nat "King" Cole
14. CHRISTMAS WALTZ - Russ Peterson/Reuben Ristrom
15. BELL CAROL BLUES - Scott Hamilton
16. ENGLAND'S CAROL (GOD REST YE MERRY, GENTLEMEN) -
Modern Jazz Quartet
17. SNOWFALL - Claude Thornhill Orchestra
18. DON'T WANT NO BLUES THIS CHRISTMAS - Dave McKenna
19. WINTER WONDERLAND - Johnny Mercer
with the Paul Weston Orchestra and The Pied Pipers
20. SILVER BELLS - Dave McKenna
21. CHILD'S PLAY - Sauter-Finegan Orchestra
22. MEDLEY - Dave McKenna
O LITTLE TOWN OF BETHLEHEM
MARY'S LITTLE BOY CHILD
23. JINGLE BELLS - Dick Wellstood
24. SANTA CLAUS IS COMIN' TO TOWN - Big Al Carson
25. HOOTIE'S CHRISTMAS BABY - Jay McShann/Jim Galloway
26. GOOD KING WENCESLAS - Sackville All-Stars
27. THE SHEPHERD'S PIPE CAROL - London Brass
28. IT CAME UPON THE MIDNIGHT CLEAR - Summit Reunion
29. THE NIGHT BEFORE CHRISTMAS - Louis Armstrong
30. O TANNENBAUM - Mr. Jack Daniel's Original Silver Cornet Band
31. SANTA CLAUS BLUES - Bob Wilber & The Bechet Legacy
32. AWAY IN A MANGER - George Shearing
33. MEDLEY - Mark Shane's X-Mas All-Stars
OH DU FROHLICHE
ALLE JAHRE WIEDER
34. MY FAVORITE THINGS - Tony Bennett
35. GREENSLEEVES (WHAT CHILD IS THIS?) - Kenny Burrell
with the Gil Evans Orchestra
36. JOY TO THE WORLD - Mark Shane's X-Mas All-Stars
37. SANTA CLAUS IS COMING TO TOWN - Nancy LaMott
1. BRING A TORCH JEANETTE, ISABELLA - Philadelphia Brass
2. LIKE NUTTY OVERTURE - Shorty Rogers
(from CD "The Swinging Nut Cracker)
3. ARAB DANCE - Claude Thornhill Orchestra
4. BOUNCE OF THE SUGAR PLUM FAIRY - John Kirby Orchestra
5. WE THREE KINGS - The Swingle Singers
6. RUDOLPH THE RED-NOSED REINDEER - World's Greatest Jazz Band
Bob Wilber - clarinet
Billy Butterfield - vocal
Vic Dickenson - vocal
Bud Freeman - tenor sax
7. SLEIGH RIDE - Russ Peterson/Reuben Ristrom
Russ Peterson - flute
Reuben Ristrom - guitar
8. THE TOY TRUMPET - Raymond Scott Sextette
9. ONE HORSE OPEN SLEIGH - Robert DeCourmier Singers
10. BLUE REEDS - Shorty Rogers
(from CD "The Swinging Nut Cracker")
11. MIDNIGHT SLEIGHRIDE - Sauter-Finegan Orchestra
12. MEDLEY - Vikki Carr
JOLLY OLD ST. NICHOLAS
UP ON THE HOUSETOP
13. THE CHRISTMAS SONG - Nat "King" Cole
14. CHRISTMAS WALTZ - Russ Peterson/Reuben Ristrom
15. BELL CAROL BLUES - Scott Hamilton
16. ENGLAND'S CAROL (GOD REST YE MERRY, GENTLEMEN) -
Modern Jazz Quartet
17. SNOWFALL - Claude Thornhill Orchestra
18. DON'T WANT NO BLUES THIS CHRISTMAS - Dave McKenna
19. WINTER WONDERLAND - Johnny Mercer
with the Paul Weston Orchestra and The Pied Pipers
20. SILVER BELLS - Dave McKenna
21. CHILD'S PLAY - Sauter-Finegan Orchestra
22. MEDLEY - Dave McKenna
O LITTLE TOWN OF BETHLEHEM
MARY'S LITTLE BOY CHILD
23. JINGLE BELLS - Dick Wellstood
24. SANTA CLAUS IS COMIN' TO TOWN - Big Al Carson
25. HOOTIE'S CHRISTMAS BABY - Jay McShann/Jim Galloway
26. GOOD KING WENCESLAS - Sackville All-Stars
27. THE SHEPHERD'S PIPE CAROL - London Brass
28. IT CAME UPON THE MIDNIGHT CLEAR - Summit Reunion
29. THE NIGHT BEFORE CHRISTMAS - Louis Armstrong
30. O TANNENBAUM - Mr. Jack Daniel's Original Silver Cornet Band
31. SANTA CLAUS BLUES - Bob Wilber & The Bechet Legacy
32. AWAY IN A MANGER - George Shearing
33. MEDLEY - Mark Shane's X-Mas All-Stars
OH DU FROHLICHE
ALLE JAHRE WIEDER
34. MY FAVORITE THINGS - Tony Bennett
35. GREENSLEEVES (WHAT CHILD IS THIS?) - Kenny Burrell
with the Gil Evans Orchestra
36. JOY TO THE WORLD - Mark Shane's X-Mas All-Stars
37. SANTA CLAUS IS COMING TO TOWN - Nancy LaMott
Jazz Review-The Howard Alden-Dan Barrett Quintet
The Howard Alden-Dan Barrett Quintet
During the Swing Era, sometimes lost in all the publicity garnered by the big bands, were some very fine small jazz bands. The Howard Alden-Dan Barrett Quintet's Clambake Seven comes to mind, as does the Gramercy Five of clarinetist Artie Shaw. Duke Ellington had his small recording units, and drummer Chick Webb's band-within-a band was The Little Chicks. But the most-swinging little group, in this writer's humble opinion, was the John Kirby Sextet, a working group that recorded many good sides for the Columbia and RCA Victor labels. A hard-swinging sextet, sometimes almost too polite and precise, it nevertheless was the standard by which small-band jazz was measured.
A reincarnation of the Kirby band, the Howard Alden-Dan Barrett Quintet, is now playing all over the world, and the grand old Riverside Inn, located in Cambridge Springs was fortunate enough to house this amazing band Friday evening. Sponsored by the Allegheny Jazz Society, the Quintet, made up of Howard Alden on guitar; Dan Barrett on trombone; Chuck Wilson-alto sax and clarinet; Frank Tate-string bass, and Jackie Williams-drums, played three sets before a capacity crowd in the inn's well-appointed dining room.
After a romantic candle-lit buffet, the concert began at 8. The Quintet opened with an old Fats Waller number, "Up Jumped You With Love.' Buck Clayton, the veteran trumpet star with the old Count Basie band, contributed an arrangement titled "Switch Hitter." The Quintet showed its esoteric side, with three numbers from the 20s: "Oriental Strut," composed by New Orleans banjoist Johnny St. Cyr, "Washboard Blues" by Hoagy Carmichael, and Kid Ory's "Savoy Blues." The last-named item was simply beautiful, with Wilson's low-register clarinet and a muted Barrett. The first set closed with a blistering "Cottontail," composed by Duke Ellington. Drummer Williams was featured on this one. Set number two opened with something done by the Benny Goodman Sextet, "Till Tom Special." Bud Freeman's "The Eel" had fierce Barrett, fluid Alden, and great rhythm from Tate and Williams. "Isfahan," composed by Billy Strayhorn for Duke Ellington's "Far East Suite," featured Wilson on alto sax, while another Ellington gem, originally composed as a piano piece, "Dancers In Love," was a solo spot for guitarist Alden.
The Quintet has now been working together for over ten years, and it shows. Barrett, with his large tone, fierce attack, and mastery of the mutes, has developed into the premier jazz trombonist. Alden has few equals in jazz at the present time. Simply an amazing musician. Reedman Wilson, with his fluid clarinet, and his alto sax crying like a wounded thing, creates spell-binding moods. Bassman Tate uses his big tone to great effect, and is rock-solid on any occasion. The ideal rhythm man, he is also quite impressive on his arco solos. And drummer Williams continues to be the ideal small-band drummer, with his feathery touch and unobtrusive style, much in the manner of a latter-day Jo Jones. Marie and Mike Halliday, of the Riverside Inn, are to be commended for the warm and charming dining room. And, again, Allegheny Jazz Society president Joe Boughton brought another outstanding group to the area. It just gets better and better. This one will be hard to top.
During the Swing Era, sometimes lost in all the publicity garnered by the big bands, were some very fine small jazz bands. The Howard Alden-Dan Barrett Quintet's Clambake Seven comes to mind, as does the Gramercy Five of clarinetist Artie Shaw. Duke Ellington had his small recording units, and drummer Chick Webb's band-within-a band was The Little Chicks. But the most-swinging little group, in this writer's humble opinion, was the John Kirby Sextet, a working group that recorded many good sides for the Columbia and RCA Victor labels. A hard-swinging sextet, sometimes almost too polite and precise, it nevertheless was the standard by which small-band jazz was measured.
A reincarnation of the Kirby band, the Howard Alden-Dan Barrett Quintet, is now playing all over the world, and the grand old Riverside Inn, located in Cambridge Springs was fortunate enough to house this amazing band Friday evening. Sponsored by the Allegheny Jazz Society, the Quintet, made up of Howard Alden on guitar; Dan Barrett on trombone; Chuck Wilson-alto sax and clarinet; Frank Tate-string bass, and Jackie Williams-drums, played three sets before a capacity crowd in the inn's well-appointed dining room.
After a romantic candle-lit buffet, the concert began at 8. The Quintet opened with an old Fats Waller number, "Up Jumped You With Love.' Buck Clayton, the veteran trumpet star with the old Count Basie band, contributed an arrangement titled "Switch Hitter." The Quintet showed its esoteric side, with three numbers from the 20s: "Oriental Strut," composed by New Orleans banjoist Johnny St. Cyr, "Washboard Blues" by Hoagy Carmichael, and Kid Ory's "Savoy Blues." The last-named item was simply beautiful, with Wilson's low-register clarinet and a muted Barrett. The first set closed with a blistering "Cottontail," composed by Duke Ellington. Drummer Williams was featured on this one. Set number two opened with something done by the Benny Goodman Sextet, "Till Tom Special." Bud Freeman's "The Eel" had fierce Barrett, fluid Alden, and great rhythm from Tate and Williams. "Isfahan," composed by Billy Strayhorn for Duke Ellington's "Far East Suite," featured Wilson on alto sax, while another Ellington gem, originally composed as a piano piece, "Dancers In Love," was a solo spot for guitarist Alden.
The Quintet has now been working together for over ten years, and it shows. Barrett, with his large tone, fierce attack, and mastery of the mutes, has developed into the premier jazz trombonist. Alden has few equals in jazz at the present time. Simply an amazing musician. Reedman Wilson, with his fluid clarinet, and his alto sax crying like a wounded thing, creates spell-binding moods. Bassman Tate uses his big tone to great effect, and is rock-solid on any occasion. The ideal rhythm man, he is also quite impressive on his arco solos. And drummer Williams continues to be the ideal small-band drummer, with his feathery touch and unobtrusive style, much in the manner of a latter-day Jo Jones. Marie and Mike Halliday, of the Riverside Inn, are to be commended for the warm and charming dining room. And, again, Allegheny Jazz Society president Joe Boughton brought another outstanding group to the area. It just gets better and better. This one will be hard to top.
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